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August 2, 2015September 4, 2015

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The Shameless (무뢰한) – ★★★☆☆

The Shameless (무뢰한)

When criminal lowlife Hwang is murdered by gang enforcer Park Joon-gil (Park Seong-woong (박성웅), hard-boiled detective Jeong Jae-gon (Kim Nam-gil (김남길) is tasked with locating the felon. The assignment proves problematic as Park is gifted at evading capture, yet his passionate relationship with brothel madam Kim Hye-kyeong (Jeon Do-yeon (전도연) could provide the detective an opportunity for the arrest. Going undercover to win her trust, Jae-gon contends with fending off corrupt cops and violent local gangsters all seeking Joon-gil for their own ends, while struggling to keep up his charade as he becomes increasingly attracted to Hye-kyeong. With his desire for her heightening, Jae-gon discovers his morality becoming progressively blurred.

In the squalid urban landscape, detective Jeong discovers a murder case

Premiering in Un Certain Regard at Cannes 2015, writer/director Oh Seung-wook’s noir thriller The Shameless begins as a visually stimulating and compelling crime thriller before descending into tepid drama at the halfway point. Gorgeously realised and featuring a great performance by the ever-reliable Jeon Do-yeon, The Shameless is ultimately let down by Kim Nam-gil’s uninspired lead and a bland final act.

Helmer/scribe Oh Seung-wook, responsible for penning acclaimed films Green Fish and Christmas in August, steps behind the camera for the first time since 2001’s Kilimanjaro and immediately appears as if he never should have left. The Shameless opens in wonderful style, as a long take follows detective Jeong as he traverses Seoul’s under-construction landscape in the pale blue hue of the dawn, wonderfully articulating the gritty nature of the narrative and the complex attributes of the capital itself. The dilapidated environs, complete with renovation on the horizon, are visually inspiring and set up the region as a wholly believable arena in which crime and corruption are rife.

The plot, too, begins in a satisfactory hardboiled fashion as Jae-gon is assigned to capture fugitive Seong-woong due to a gruesome murder. With both the police force and local gangsters claiming a stake in locating the perpetrator it’s not long before their mutual goals aline, with Jae-gon consistently questioning which side of the law he is now on. To complicate matters, Jae-gon’s increasing attraction to femme fatale Hye-kyeong stirs even greater trouble for them both.

Hostess bar madam and femme fatale Hye-kyeong poses a love interest

Hostess bar madam and femme fatale Hye-kyeong poses a conflict of interest

Yet while all the classic features of film noir are setup, The Shameless becomes difficult to invest in due to the narrative structure alongside Kim Nam-gil’s indistinct performance. The actor certainly gives it his best, but he simply doesn’t have the gravitas or presence to be the hardboiled cop the film requires, while the script’s venture into generic drama territory dismantles the tense noir elements within and ultimately leads to an unsatisfactory finale. Bizarrely, the disappointing climax occurs around the 1hr 40 minute mark with an additional 20 minutes seemingly tacked on as an epilogue of sorts, slavishly dedicated to wrapping up loose narrative tangents. It’s an unnecessary extension, resulting in an overly long running time with little payoff.

Such criticisms do not apply to Jeon Do-yeon however, who adds yet another compelling performance to her already outstanding resume. While she isn’t given a great deal to work with, her turn as strong, street-wise bar madam/prostitute Hye-kyeong is consistently charismatic, imbuing the antagonist with sophisticated canniness and just a hint of vulnerability. Due to the nature of the narrative structure, The Shameless eventually comes to rest on her shoulders and she carries the film much more convincingly than her co-star with her endearing performance.

Hye-kyeong and Jae-gon develop a dangerous relationship within the criminal underworld

Verdict:

The Shameless is a gritty noir crime story by helmer/scribe Oh Seung-wook, who brilliantly employs the urban landscapes of Seoul to construct a visually stimulating film. While the opening is effective in establishing a compelling thriller and the ever-reliable Jeon Do-yeon adds sophistication, the narrative slips into tepid drama and an overly long uninspired finale, making for a competent yet sterile noir tale.

★★★☆☆

Reviews

August 1, 2015August 10, 2015

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12 Deep Red Nights : Chapter One (십이야 : 깊고 붉은 열두 개의 밤) – ★★☆☆☆

12 Deep Red Nights: Chapter 1

Horror omnibus films are consistently prevalent in Korean cinema, particularly arising at film festivals where directors – who are typically between projects – use the medium to showcase and experiment with their respective aesthetics through the short story form.

Last year’s horror anthology MAD SAD BAD opened the 2014 Jeonju Int. Film Festival and featured three talented directors experimenting with 3D technology for addition frights. Horror Stories kicked off the 2012 Bucheon Int. Fantastic Film Festival, depicting three tales encapsulated within a larger framework, while sequel Horror Stories 2 appeared at BiFan the following year.

Yet while the format allows directors to experiment with their craft, it also inevitably results in comparisons regarding which tale is more effective, an unfortunate byproduct director Oh In-cheon smartly circumvents by helming all four stories within 12 Deep Red Nights: Chapter 1.

1st Night – Driver

Following his well-received feature debut Mourning Grave, director Oh’s 12 Deep Red Nights: Chapter 1 articulates four tales of woe in the dark recesses of Korea after dark which, while competently helmed, disappointingly lack flair and creativity. While disorientating scenes of the urban nightlife are effective, the omnibus seems to be more akin to a practice run for future endeavours as director Oh experiments with pacing and generating suspense, with actual scares in very short supply. That said, it’s interesting how horror is derived from commonplace features of life in the peninsula.

In 1st Night – Driver, a young socialite calls for a driving service to take her home and begs the driver to kill her, promising to bestow all her wealth as a reward. For foreign audiences the notion of this industry will undoubtedly be initially difficult to digest, yet once accepted as commonplace in Korea the tale becomes an intriguing one. Tension is generated well as the driver struggles with the morality of the situation, yet the climax is a letdown.

2nd Night – PM 11:55 sees a female office worker return to her apartment, unknowingly followed by a hooded figure. Tasked with completing a translation assignment before midnight, the woman achieves her goal with five minutes to spare. Yet as she unwinds, the hooded figure begins consistently ringing her door bell and refuses to leave, with the woman unable to contact the outside world for help. PM 11:55 sets up a sense of panic well, clearly inspired by real circumstances. However director Oh seems unsure how to end the story, which comes to an unsatisfying, abrupt end.

2nd Night 11:55

The next tale, 3rd Night – atmosFEAR (or literally Sounds of a Man) is the most impressive in terms of generating an increasingly heightened aura of suspense. An audio technician requires ambient sound for his latest project, and uses his equipment to record the sounds that occur at night. After capturing conversations of couples arguing, he traverses a countryside area for natural ambience. Yet upon hearing a girl’s scream, he follows his recording equipment to investigate the source. While the camerawork and props are employed to created palpable tension, the finale is easily the most disappointing of all the short stories.

Finally, 4th Night – Secret Night tells the tale of junior office worker Yeong-min who attempts to steal company secrets. This segment is the most narratively driven and complete tale within the film, exploring the fraught dynamic between senior and junior company staff in Korea alongside issues of blackmail. Yet while Secret Night is the most structured tale, it’s also the most bland and laborious due to the overly long running time and drawn out story.

4th Night – Secret Night

Verdict:

Depicting four tales of nightly horror, omnibus 12 Deep Red Nights: Chapter 1 is a competent yet uninspiring addition to director Oh In-cheon’s filmography. The anthology serves more akin to a practice run for future endeavours rather than an inventive take on the genre. While suspense is generated well throughout each story disappointment quickly follows, and is a mediocre effort by a usually solid director.

★★☆☆☆

http://www.youtube.com/watch?v=I6so5Xohaww

July 30, 2015August 1, 2015

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A Blood Pledge (여고괴담5:동반자살) – ★★☆☆☆

A Blood Pledge (여고괴담 5: 동반자살)

In an all-girls Catholic high school, three best friends struggling with the anxieties in their young lives swear to a suicide pact, resolving to end their suffering together. Yet after their pledge, Soy (Son Eun-seo (손은서), Yoo-jin (Oh Yeon-seo (오연서) and Eun-yeong (Song Min-jeong (송민정) remain alive while a fourth girl, highly academic student Eun-joo (Jang Kyeong-ah (장경아) is found dead having jumped from the school roof. Rumours quickly begin to circulate as to the circumstances surrounding Eun-joo’s suicide, with suspicions regarding Soy’s involvement growing ever more intense. As Eun-joo’s younger sister Jeong-eun (Yoo Shin-ae (유신애) investigates, she appears as if possessed, striving for answers until the shocking truth is finally revealed.

Soy, Yoo-jin and Eun-yeong agree to a suicide pact to end their suffering

The fifth entry in the highly successful Whispering Corridors horror series, A Blood Pledge – AKA Suicide Pact – is certainly the most poorly conceived. Aside from some occasionally interesting moments regarding female high school relationships, the weak narrative, feeble directing and frankly horrible editing and special effects combine to produce an especially fruitless K-horror that lacks any scares.

Writer/director Lee Jong-yong attempts to craft a A Blood Pledge as a gothic horror mystery of sorts, employing religious iconography and non-linear timeline to generate the required chills. Unfortunately for the filmmaker, none of it works. Visually, A Blood Pledge is particularly lacking both aesthetically and in finesse as suspense is fleetingly generated, while the constant flashbacks add more confusion than tension due to their seemingly random insertion and absence of visual cues differentiating time periods. Thematically the narrative touches upon some key issues of Korean teenage life – volatile relationships, importance of grades in school hierarchy, the class divide – yet as they are typically only briefly alluded and with character development curiously absent, it’s tough to invest in Soy’s journey or find it remotely compelling.

Rumours surrounding Soy’s involvement in Eun-joo’s suicide quickly circulate

A Blood Pledge could make up for its shortcomings with some effective horror sequences, yet in this regard the film also fails. While the film aims for generic scares, there is little or no attempt to build the pre-requisite suspense that leads to them. When the vengeful spirit does indeed appear to exact revenge, the scenes are cringeworthy in their awfulness. Featuring laughable special effects or more generally a bloodied ghost in dark lighting, the horror sequences don’t just fail to induce chills but serve to draw the audience from the story. A scene involving an exploding head followed by a rapidly reversing car is the most notable offence, positively screaming budget constraints as well as poor conception.

The film also suffers from undeveloped narrative strands and illogical motivations. A subplot involving bad boy Gi-ho and his rich mother is never pursued despite its open-ended nature, while Eun-yeong’s relationship with her abusive father isn’t explored, amongst others. Notably, a pregnant student doesn’t want to proceed with an abortion yet would rather commit suicide instead. Fallacies such as these halt any potential depth that could have been ascribed to the narrative, resulting in a particularly underwhelming fifth entry into an otherwise successful horror franchise.

A vengeful ghost exacts revenge

Verdict:

A Blood Pledge is the fifth entry in the Whispering Corridors horror series by writer/director Lee Jong-yong, and is easily the weakest in the franchise. While aspects of female high school relationships are alluded to, the poor script, bland directing and cringeworthy scenes of horror alongside a confusing timeline structure make A Blood Pledge one for K-horror aficionados only.

★★☆☆☆

Reviews

July 27, 2015December 28, 2015

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The Chosen: Forbidden Cave (퇴마: 무녀굴) – ★☆☆☆☆

The Chosen: Forbidden Cave (퇴마: 무녀굴)

N.B. This review is based on the Bucheon Fantastic Film Festival 2015 edit, screened at the closing ceremony.

Psychologist Jin-myeong (Kim Seong-gyoon (김성균) is unique in his trade as one of the few professionals who considers supernatural phenomena when treating clients, performing exorcisms with apprentice Ji-gwang (Kim Hye-seong (김혜성) when the need arises. Due to his unorthodox methods Jin-myeong has earned a notable reputation, attracting the unwanted attention of documentary producer Hye-in (Cha Ye-ryeon (차예련). Yet they are forced to combine their efforts when a disturbing new case occurs, as art curator Geum-joo (Yoo Seon (유선) is at the mercy of a particularly vindictive spirit, the secrets of which originate from forgotten childhood memories and a ghostly cave.

Geun-joo’s possession proves an extremely difficult task for psychologist/exorcist Jin-myeong

With a solid premise but poor execution, director Kim Hwi’s horror/thriller The Chosen: Forbidden Cave is heavy on frustration and light on scares. As the closing film for BiFan’s 2015 edition, the festival’s claim of the film’s ability to ‘punch up the horror scene’ in the industry is unfortunately pure hyperbole as The Chosen is, aside from a few well-constructed set-pieces, a bland addition in dire need of a re-edit.

The Chosen: Forbidden Cave begins in intriguing fashion as Jin-myeong lectures on the importance of shamanism when considering diagnosis, with a handful of scares to sell the concept. Yet from there the narrative rapidly descends into chaos as characters and themes randomly arise and recede, with the audience expected to instinctively know their place within the story. Jin-myeong appears to have the ability of foresight through dreams yet it is never made clear while a subplot, possibly involving his wife and a botched exorcism, is never explained; his subordinate Ji-gwang just seemingly appears during consultations while his supernatural gifts – other than furiously shaking a plant during treatments – are not ascertained; documentary producer Hye-in’s history and motivations are not revealed; and most importantly, there is zero logic in the aimless actions of the vindictive spirit that inhabits Geum-joo. Frustration quickly sets in as characters and events occur randomly, with a re-edit, and much greater elaboration and development, sorely needed.

The search for answers to Geum-joo’s affliction takes the team into horrific territory

While the ghost that inhabits Geum-joo is aggravatingly indiscriminate, the haphazard nature allows director Kim to stage a variety of horror set pieces that are generally well-constructed. While they are cliche and form a story more akin to a series of horror sequences than a coherent whole, the macabre scenes serve to present the tropes expected from the genre. Problematically however, as there are so many sequences of this manner, the impact and effectiveness of the horror is lost as audiences become increasingly immune.

Furthermore, the use of the 1948 Jeju Massacre as the ultimate source of terror within The Chosen is in particularly bad taste. Not that the tragic event doesn’t lend itself well to the genre, but the manner in which the tragedy is employed and interpreted as antiquated and misandrist, in need of purging by contemporary patriarchy and Christianity, is borderline offensive.

Actor Kim Seong-gyoon fares the best as psychologist/exorcist Jin-myeong within The Chosen. His stoic turn as the broad-minded professional halts emotional investment in the journey yet provides a solid foundation from which the events revolve around. The rest of the cast do not prosper as well. Yoo Seon is generally required to run around screaming and crying, while Cha Ye-ryeon and Kim Hye-seong are present merely to appear attractive and little else.

Horrific truths await in the cave

Verdict:

Aside from a solid premise and the occasional well-constructed horror sequence, The Chosen: Forbidden Cave is a big misstep from director Kim Hwi. The events and characters within the film appear and recede indiscriminately throughout the haphazard narrative while any sort of development is a rarity. The Chosen is a frustratingly bland addition to the K-horror scene.

★☆☆☆☆

http://www.youtube.com/watch?v=aBiCpT5-VWA

Bucheon International Fantastic Film Festival (제 19회 부천국제판타스틱영화제) Festival News Korean Film Festivals 2015 Reviews

July 25, 2015September 26, 2015

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Sunshine (선샤인) – ★★☆☆☆

Sunshine (선샤인)

North Korean refugee Seol-ji (Dana (다나) was a propaganda poster artist for the Dear Leader prior to her escape. Now settled in a district in Seoul with friend Soon-yeong (Lee Mi-so (이미소), Seol-ji works delivering flowers for a fellow refugee and paints during her spare time. Her skill is such that ambitious documentary director Shin-woong (Kang Eun-taek (강은탁) begs to film her and reveal Seol-ji’s talent to the world, yet she is reluctant due to the ramifications for her family should her North Korean identity be discovered. Agreeing to cancel her face on camera, the duo work together to craft a documentary about art yet quickly learn that Seol-ji’s abilities become problematic when asked to construct something original.

Documentary director Shin-woong begs Seol-ji to be his muse

Sweet and amiable, writer/director Park Jin-soon’s Sunshine is a rare breed of romantic-drama that leaves audiences with a resonating sense of contentment after the credits have run, yet when probed is ultimately found to be lacking in substance.

Helmer/scribe Park Jin-soon is competent at his craft and Sunshine begins in a promisingly quirky and infectious fashion, as eccentric artist Seol-ji and her rather unorthodox lifestyle are introduced alongside documentary director/borderline stalker Shin-woong who’s so desperate to capture her work on film. Their dynamic is enjoyable as Seol-ji’s reluctance to be filmed and Shin-woong’s persistence to do so clash with predictably entertaining results, informing a hint of romance underpinning the proceedings, while the picturesque Jeju Island scenery ensures the film is an attractive one throughout.

On the condition of anonymity Seol-ji agrees to be the subject of the documentary, and from there Sunshine begins its decline into mediocrity, albeit a very genial one.

A burgeoning romance underpins the collaboration

As Sunshine continues in charmingly amicable fashion, a host of subplots are interweaved into the narrative yet none are prioritised, compelling or given resolution. The story gently trundles along as the hints of romance that develop between Seol-ji and Shin-woong are given a slight love triangle twist, as Seol-ji struggles to draw anything original, as Shin-woong has problems at work, and so forth. Yet while such issues are featured, exploration simply isn’t present making it difficult to invest in their respective trajectories. The most glaring area this arises is in Seol-ji’s status as a North Korean residing in Seoul. Scant scenes touch upon the issue but in no real depth, aside from some last minute sequences with best friend Soon-yeong.

Sunshine is an enjoyable viewing experience largely due to actress Dana’s charismatic turn as artist Seol-ji. Dana infuses the character with a disarming innocence and vulnerability alongside passion and integrity, making what could have easily been a bland story into an entertaining one.

Shin-woong notices something specia and hiddenl in Seol-ji’s work

Verdict:

Sunshine is an enjoyable romantic drama that leaves audiences content with its genial themes, yet scratching the surface reveals a real lack of substance. Writer/director Park Jin-soon has crafted an amiable and visually attractive story yet one that never explores the host of subplots within, notably regarding North Korean issues. However, Dana’s charismatic performance elevates Sunshine into an entertaining tale.

★★☆☆☆

Bucheon International Fantastic Film Festival (제 19회 부천국제판타스틱영화제) Festival News Korean Film Festivals 2015 Reviews

July 17, 2015July 30, 2015

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Possessed (불신지옥) – ★★★☆☆

Possessed (불신지옥)

Living in Seoul is a tough existence for Hee-jin (Nam Sang-mi (남상미). Studying for exams during the day while moonlighting at night as a personal tutor and convenience store clerk, Hee-jin’s health is beginning to suffer from a combination of stress and exhaustion. Her usual routine is disturbed one night when younger sister So-jin (Sim Eun-kyeong (심은경) abruptly calls and leaves a mysterious message…however the next morning when Hee-jin’s mother (Kim Bo-yeon (김보연) informs her that So-jin is missing, she becomes worried and decides to return home to help with the search. Teaming with detective Tae-hwan (Ryoo Seung-ryong (류승룡), the duo begin to notice strange machinations and events occurring at the apartment complex, yet So-jin is still nowhere to be found.

Hee-jin feels something is terribly wrong in the apartment complex

An impressive addition to the K-horror canon, Possessed – as known as Living Death – is a pertinent example of eerily-effective and scarily-suspenseful storytelling on a tight budget. Director Lee Yong-joo’s debut is a potent mix of the horrors of religious fervour and taught claustrophobic locations that, while lacking in terms of character development and resolutions, is an accomplished chiller.

Proving that large budgets aren’t necessary to create unsettling tension and scares, director Lee instead relies on generating fear through the claustrophobic environs of a dilapidated apartment block to great effect throughout Possessed. The methods in which he produces moments of terror by exploiting the narrow confines of rooms and hallways, in conjunction with unnerving close-ups and chiaroscuro lighting, makes the film consistently disturbing and serves to make Hee-jin’s search for her missing sister all the more compelling. Thankfully, director Lee rarely employs cheap ‘jump’ scares to frighten his audience, generally taking his time to develop a sense of foreboding so that the sense of dread resonates throughout.

Hee-jin enlists the help of cynical detective Tae-hwan

Possessed is also memorable for its chief source of horror – religious fervour. As Hee-ji and obstinate detective Tae-hwan begin to search for So-jin, they uncover an array of eccentric residents within the apartment complex each with their own odd peculiarities and ties to the missing girl. The narrative potently examines how folk who have endured difficulties turn to religious ideologies with frightening levels of enthusiasm, and the clues uncovered reveal a number of potential suspects in the case that adds greatly to the suspense.

Yet the horror film is not without issues, particularly in regards to character development and resolution which are generally lacking. This is acutely the case with Hee-jin who, aside from the fact her younger sister is missing, has very little of her life revealed. Hints are laced though the film that she has supernatural gifts although such themes frustratingly go unresolved. Actress Nam Sang-mi however gives a great performance in the role and generates enough likeable charm that it’s impossible not to invest in her story. Other resolutions, such as the apparent ‘possession,’ present certain motifs such as the elegant crane yet answers are in short supply, while the film ironically ultimately ties up all loose ends far too neatly in order to adhere to a generically satisfactory finale.

Flashbacks shed light on So-jin’s mysterious disappearance

Verdict:

Possessed is an impressive K-horror by debut director Lee Yong-joo, who uses his tight budget highly effectively to craft a suspense-filled tale of intrigue about a missing girl. Employing claustrophobic environs and a story that examines the frightening religious fervour within communities, Possessed is – lack of character development and resolutions notwithstanding – a chilling delight.

★★★☆☆

Reviews

July 10, 2015July 25, 2015

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BiFan 2015 – Korean Feature Films Part 2

BiFan 2015 will run for 10 days from July 16th~26th, and the biggest genre film festival in Asia is bigger than ever.

To celebrate the upcoming extravaganza, here at Hanguk Yeonghwa we are profiling the Korean films due to screened.

In Part 1, we took a look at the K-films present for the closing ceremony as well as within the Bucheon Choice: Feature, World Fantastic Cinema, and The Masters categories, respectively.

Here in Part 2 the K-films selected for Vision Express, the rather wordy KAFA+ Next D – “3D, Once Again,” and K-Indie Genre Strikes! are profiled.

To see PART 1 of our BiFan profile, please click here.

Vision Express

Amor (그리울 련) – director Han Cheol-su (한철수)

Hee-yeon's terminal illness doesn't deter boyfriend Tae-woo

Hee-yeon’s terminal illness doesn’t deter Tae-woo

Drama Amor follows the story of terminally ill Hee-yeon who, due to her situation, tries to tell her zookeeper boyfriend Tae-woo to forget about her and move on with his life. Yet one day Tae-woo finds a mysterious woman in a bad situation in a zoo bathroom, and discovers she is related to Hee-yeon.

Antigone (안티고네) – directors Kang Eok-seok (강억석), Kim Sung-pum (김성범), Park Seo-yeon (박서연)

The story of King Yong is told

Three directors have collaborated together to bring the story of King Yong to the big screen. Judging from the stills that have been released, the period drama has a definite Dogme 95 vibe through the absence of set design. The film retells a classic Greek tragedy, which examines the lives of King Yong and his family as they attempt to flee to Japan.

Purpose of Reunion (동창회의 목적) – director Jeong Dae-man (정대만)

Dong-chul owns a charming bar

Director Jeong Dae-man’s entry seems to be one of the more traditional drama offerings that focuses on the complexity of modern relationships. The plot involves Dong-chul, who owns a quaint bar, and wants to hold a reunion. Yet one of his guests is attractive Yujin, and they begin a relationship…but what will his wife say?

Sunshine (선샤인) – director Park Jin-soon (박진순)

Sul-ji is an artistic North Korean exile

Sunshine appears to be the only feature film at BiFan 2015 to explore the division between North and South Korea. The film follows former propaganda designer Sul-ji, now a florist, who is asked to be the subject of a documentary for a down-on-his-luck producer…but what will this mean for her family still north of the border?

KAFA+ Next D – “3D, Once Again”

MAD SAD BAD (신촌좀비만화) – directors Ryoo Seung-wan (류승완), Han Ji-seung (한지승), Kim Tae-yong (김태용)

Ghost (유령)

3D omnibus MAD SAD BAD opened the 2014 Jeonju Int. Film Festival, and features a variety of genres. The best is easily the supernatural drama Picnic by director Kim Tae-yong, while director Ryoo Seung-wan’s thriller Ghost – based on real events of teens who murder due to sns – is also good. Zombie comedy/horror I Saw You by director Han Ji-seung completes the omnibus.

K-Indie Genre Strikes!

12 Deep Red Nights (십이야: 깊고 붉은 열두 개의 밤 Chapter 1) – director Oh In-chun (오인천)

Four horror stories are told in the film

Director Oh In-chun, fresh from 2014 horror/romance Mourning Grave, returns with an omnibus of four chilling stories. Rather than separate tales, the events – titled Driver, PM 11:55, atmosFEAR and The Secret Night – are all interlinked. Director Oh’s film is also intended as the first part of a series of 12 horrors.

http://www.youtube.com/watch?v=I6so5Xohaww

Mizo (미조) – director Nam Ki-woong (남기웅)

Mizo and Woo-sang have a violently sexual relatonship

Mizo premiered at Jeonju Film Fest 2014. The film depicts the story of a girl left in the trash as a child, who later returns to the area as an adult and forms relationships with the corrupt people living there, preparing her revenge. Mizo is violent and overtly sexual, but then that should come as no surprise from the director of Teenage Hooker Became a Killing Machine.

http://www.youtube.com/watch?v=AqqIVaFecTw

My Secret Partner (완벽한 파트너) – director Park Heon-soo (박헌수)

Comedy and sex mix to fun effect in this light-hearted take on modern relationships

Also known as Perfect Partner, this raunchy sex-comedy follows a screenwriter and a chef who, due to suffering from a severe lack of inspiration, embark on sexual relationships with their students to help unleash their passions. Yet the young objects of their lust have motivations of their own. Will the controversial relationships prove fruitful?

Ownerless Flower Uhwudong (어우동: 주인 없는 꽃) – director Lee Soo-sung (이수성)

An erotic love triangle features

Released in January 2015, Ownerless Flower Uhwudong is a rare independent period drama featuring plenty of lust and debauchery through the narrative, which centers on a twisted love triangle amongst the social elite. Director Lee Soo-sung is no stranger to raunchy material having helmed sex comedy Mango Tree in 2013, though his latest marks a big improvement.

http://www.youtube.com/watch?v=52OAq1xJ0XQ

Playboy Bong (아티스트 봉만대) – director Bong Man-dae (봉만대)

Tensions arise on the set of an erotic movie

Another sexy-comedy to arrive at BiFan 2015 is Playboy Bong. The film explores a film crew that go to Bali to shoot an erotic movie, but the producers are underwhelmed with the early footage. To salvage the film, porn director Bong Man-dae is hired yet when he arrives and begins demanding more erotic scenes, his presence escalates the situation.

http://www.youtube.com/watch?v=LPU6_-1-J6g

Rough Play (배우는 배우다) – director Shin Yeon-shick (신연식)

An actor traverses madness

An unofficial sequel of sorts to Rough Cut, Rough Play premiered at Busan Film Fest in 2013. Written by Kim Ki-duk, the film explores the life of a struggling actor who finally becomes a star, yet as his power rises so does his arrogance, leading to an epic fall from grace. Ironically the film was responsible for catapulting idol star Lee Joon’s popularity, particularly for the inclusion of a bed scene.

The Stone (스톤) – director Cho Se-rae (조세래)

The gentlemen’s game of baduk turns violent

The Stone combines the criminal underworld with the classic Asian game of baduk. A young genius baduk player uses his skills to hustle local small time gangsters, yet when his ability comes to the attention of a crime boss, the two strike up an unlikely friendship. Through their gentlemanly games, they begin to see the errors of their ways.

To see PART 1 of our BiFan profile, please click here.

For the full BiFan screening schedule, please follow the link here.

Bucheon International Fantastic Film Festival (제 19회 부천국제판타스틱영화제) Festival News Korean Film Festivals 2015

July 7, 2015August 5, 2015

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BiFan 2015 – Korean Feature Films Part 1

From July 16th~26th, the Bucheon International Fantastic Film Festival (BiFan) will commence its 19th edition.

Asia’s biggest genre film extravaganza, BiFan (previously called PiFan) boasts a larger scale than ever before which is sure to please cineastes. Out of the 235 films due to be screened, 62 are world premieres while 61 will receive their Asian debut.

BiFan 2015 hosts an incredible range of programmes including staples such as Bucheon Choice and World Fantastic Cinema, in conjunction with more specialised categories that honour particular filmmakers and creative output as with I’m (not) Sono Sion, Mexican Genre Film Showcase, and Excellent Actor, Nice Guy Simon Yam.

Amongst all the international films to be screened, Korea will also make its presence known through a variety of genre offerings, as well as closing the festival as has occurred in previous years with The Terror Live and My Ordinary Love Story.

To see the Korean films being featured at BiFan, please see below.

For PART 2 of our BiFan profile, please click here.

http://www.youtube.com/watch?v=Ine4hXOD2eM

Closing Film

The Chosen: Forbidden Cave (퇴마: 무녀굴) – director Kim Hui (김휘)

A psychologist must discover a secret to perform an exorcism

BiFan 2015 will close with a horror/thriller, based on Shin Jin-oh’s 201- novel ‘Moonyeogool.’ The film follows exorcist/psychologist Jin-myeong as he works on a case to free a client from a potentially dangerous spirit, yet to do so he must uncover a powerful secret. The Chosen is directed by Kim Hui, whose previous work includes Horror Stories 2 and Neighbours, and early buzz is particularly strong.

http://www.youtube.com/watch?v=Dh15uF4PH6U

Bucheon Choice: Feature

Coin Locker Girl (차이나타운) – director Han Jun-hee (한준희)

The matriarch of a criminal empire has big plans

Urban crime drama Coin Locker Girl was a surprise hit upon release in April, grossing over $10 million. The film is visually impressive and features a wonderfully transformative performance by Kim Hye-su, as she adopts the role of a crime boss matriarch who turns on an enforcer (Kim Go-eun), and as such finds itself in competition at BiFan. You can read the review here.

Tattooist (타투이스트) – director Lee Seo (이서)

Soo-na notices something strange about a client’s tattoo

The second Korean film in competition is thriller Tattooist. Soo-na, a beautiful yet somewhat disturbed tattoo artist, is asked to design the mythical character Medusa on a new client’s back. Yet she begins to notice a correlation between the ink and a murder case involving young girls. Tattooist features renowned TV drama actors Yoon Jun-hee and Song Il-gook.

World Fantastic Cinema

Boy From Wonderland (앨리스: 원더랜드에서 온 소년) – director Huh Eun-hee (허은희)

Hye is haunted by nightmares and seeks the truth

Appearing to amalgamate fantasy, horror and thriller conventions, Boy From Wonderland depicts nightmare sufferer Hye-joong (Jung So-min) whose dreams have become so severe that they threaten her very life. To find the source of her terrors she travels to a lodge she visited 24 years prior and meets the mysterious Hwan (Hong Jong-hyun).

Malice (멜리스) – director Kim Yong-woon (김용운)

Ga-in’s jealousy becomes out of control

Ripley’s Syndrome informs the central premise of director Kim Yong-woon’s thriller, as a young woman becomes obsessed with her best friend’s life and begins to try and assume her very identity, including seducing her husband and stealing her child. Malice stars glamorous actress Hong Soo-ah as the psychologically unstable Ga-in.

Super Origin (시발, 놈 – 인류의 시작) – director Baek Seung-gi (백승기)

Unique beings arise 40,000 years ago

Director Baek Seung-gi made a name for himself with comedy-fantasy Super Virgin, and he returns with another quirky offering in the form of Super Origin. 40,000 years ago a light appeared in the sky and as a result strange beings appeared in the land, and start to form a civilisation, the likes of which has never been seen before.

The Masters

Angry Painter: Director’s Cut (성난 화가 디렉터스 컷) – director Jeon Kyu-hwan (전규환)

Passion, love and anger inform the painter’s world

A co-production between Korea and Estonia, Angry Painter tells the tale of two men who operate as violent bounty hunters. When a US soldier kills one of the men and his girlfriend, the remaining partner goes on a violent rampage for justice that takes him into the heart of Europe. Starring Yun Jun-sang.

http://www.youtube.com/watch?v=qYlgRVu9qTo

For PART 2 of our BiFan profile, please click here.

For the full BiFan screening schedule, please follow the link here.

Bucheon International Fantastic Film Festival (제 19회 부천국제판타스틱영화제) Festival News Korean Film Festivals 2015

July 6, 2015July 30, 2015

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Northern Limit Line (연평해전) – ★☆☆☆☆

Northern Limit Line (연평해전)

Northern Limit Line is based on the true story of Second Battle of Yeonpyeong, a confrontation that occurred between North and South Korean forces on June 29th, 2002 in the disputed waters in the Yellow Sea.

In June 2002, South Koreans are united in World Cup fervour as the national team progresses further and further towards the final. Yet while the general public are rejoicing at the sporting event, the navy continue to patrol the maritime border near Yeonpyeong Island. Despite a few incidents involving North Korean fishermen, Captain Yoon Yeong-ha’s (Kim Moo-yeol (김무열) crew, comprised of Sergeant Han Sang-gook (Jin Goo (진구) and newbie medic Corporal Park Dong-hyeok (Lee Hyun-woo (이현우) amongst others, are in high spirits – until a boat from the North engages them in a surprise, brutal assault.

Camaraderie is strong as the crew celebrate South Korea’s World Cup achievements

An unadulterated exercise in propaganda, Northern Limit Line deserves recognition for its crowdfunded origins and helmer Kim Hak-soon’s dedication to bring it to the big screen, yet precious little else. Shoddily written, poorly directed, and featuring some of the worst editing in recent memory, the war thriller is a poor testament to those who lost their lives in the conflict, with the only saving grace arriving in the form of the emotionally charged documentary footage tacked on in the film’s dying moments. Conservative Koreans however are likely to find much to enjoy.

Northern Limit Line is clearly a passion project for writer/director Kim Hak-soon, who spent seven years developing the project as well as generating roughly a third of the $6 million budget through crowdfunding, an impressive feat to be sure. It’s bizarre then that during that time frame the script wasn’t cultivated into a coherent whole, one that details and examines the complex political situation of the era alongside a humanist angle facilitated by the inter-personal relationships between the crew. Instead, Kim has opted to remove any shred of context from the narrative, simplifying events to a base ‘good South Korean vs. evil North Korean’ rhetoric that embarrassingly evokes memories of ’80s cinema. The Northerners are consistently represented grimacing, scowling, or with facial scarring to emphasise their villainy, whilst their darkened uniforms and blackened boats signify their macabre intentions; the Southerns meanwhile typically joke and play pranks, are faithful to their loved ones, and live a generally idealistic life. Such visual cues, removed from political context and intricacies, results in Northern Limit Line conforming to a mere piece of propaganda, the likes of which were similarly present in 2014 box office hit The Admiral, and are becoming an increasingly disturbing cinematic trend.

Medic Dong-hyeok prepares to battle the grimacing North Korean navy

Scribe/helmer Kim has routinely stated that his desire to complete Northern Limit Line was due to lack of public awareness regarding the young men who lost their lives during the conflict. It’s a noble resolution, yet his endeavours ultimately fall short. Throughout the narrative the characterisation is more akin to a poor TV drama than film, as the lives of the officers are constructed employing melodramatic cliche after cliche specifically designed to force audiences to engage emotionally, yet the far-from-subtle manner utilised does just the opposite. Each member of the crew has threadbare development with resolutions consistently unanswered, however as they all feature occasional scenes caring for an impoverished loved one, audiences are expected to invest in their respective trajectories.

The myriad of superfluous protagonists compound this lack of engagement further, as random naval officers and civilians alike enter a scene, utter a few words of dialogue, and then exit without ever really stating their purpose. A female officer (performed by Cheon Min-hee (천민희) exemplifies this issue as she interacts with the central cast, yet adds no agency to the story other than to appear attractive.

The editing in Northern Limit Line is simply appalling. The film frequently jumps between the officers patrolling the Yellow Sea and the World Cup celebrations occurring in Seoul to confusing effect, and doesn’t have any baring on the story. If anything, director Kim seems to be implying that the Korean public are to blame for caring about a sporting event rather than the conflict that arises.

As Northern Limit Line enters the final act, the assault upon which the film is based arises. The battle is competently constructed and immersive, yet also overly long and disorientating due to the direction. Ironically it is after the battle scenes that the war film finds its saving grace – the real-life documentary footage of the fallen officers being laid to rest. It’s impossible not to be moved by such emotive scenes as the anguish expressed by bereaved families is palpable, while the interviews with survivors – which oddly appear during the end credits – are also deeply poignant tributes to their comrades.

The battle sequence reveals the horrors of warfare

Verdict:

Northern Limit Line is an unadulterated exercise in cinematic propaganda, one that construct a simplistic account of the terrible event by removing the complex political context of the era. Crudely written, poorly directed and horribly edited, the maritime war film’s only redeeming feature is the poignant real-life documentary footage that deeply touching. Northern Limit Line is one for hardcore nationalists only.

★☆☆☆☆

Reviews

July 6, 2015August 5, 2015

— 5 Comments

The Treacherous (간신) – ★★☆☆☆

The Treacherous (간신)

NB: This review is based on the European edit of The Treacherous.

In 1505 AD, the tyrannical King Yeonsan (Kim Kang-woo (김강우) has insatiable sexual desires that, alongside his violent suppression of any who oppose him, makes him one of the most despised rulers in the history of Korea. His lust becomes so great that he orders advisors Im Soong-jae (Joo Ji-hoon (주지훈) and Lim Sa-hong (Cheon Ho-jin (천호진) to become ‘Beauty Scout Officers,’ and acquire 10,000 women from across the land for his pleasure. Yet King Yeonsan’s greed results in widespread anger across the peninsula, while the motivations of some of his new beauties, including peasant girl Dan-hee (Lim Ji-yeon (임지연), may seal his doom.

The insatiable king commands his advisors to bring him 10,000 women

Based on the true story of abhorred King Yeonsan, The Treacherous is a beautifully composed and colourful period drama by director Min Gyoo-dong who generates an acute epic scale and flair to the proceedings. Yet the overly long film is marred by a thread-bare narrative and frightfully misogynistic sexual politics throughout that, in conjunction with distinctly OTT performances by the main cast, make the erotic piece little more than a visually attractive male fantasy.

Helmer/scribe Min Gyoo-dong has certainly exceeded himself in a cinematic sense, as The Treacherous represents his most visually competent work to date in an impressive filmography that contains All About My Wife and Memento Mori. The period drama consistently emphasises epic scale whether capturing the grandiose exterior locations or within the beautifully ornate rooms in the palace, displaying lavish production values in every frame. Combined with a glorious use of colour, the Joseon dynasty has rarely looked more elegant and wondrous.

Yet while director Min conveys the extravagance of the era with aplomb, the manner in which he portrays women is appalling. King Yeonsan is despised within the annals of history for his violent subjugation and womanising – he is especially noted for converting revered libraries into concubine abodes – however rather than convey the royal’s actions negatively, director Min glamourises them as male fantasy to the point of disbelief. Scenes involving his forcibly acquired 10,000 women being paraded, putting special powder into their vaginas to make them tighter, or bent over in a line and forced to endure different sized dildos before receiving a stamp on their rears, are presented as erotica and are thoroughly misogynistic in nature.

The acquired women are forced to endure sexual humiliation for the King’s pleasure

Actress Lim Ji-yeon, fresh from winning a few Best New Actress awards in erotic drama Obsessed in 2014, is generally the focus of such fetishisation within The Treacherous. It’s curious that she has opted to appear in another film that requires much more exposure and sexual scenes as her latest project, but she acquits herself confidently and capably. Her unique form of ‘non-acting’ and the coldness she exudes however makes her character difficult to empathise with, yet luckily her motivations alongside the dire ways in which she is treated within the palace easily position her as the heroine of the film.

The narrative also attempts to posit royal advisor and beauty scout officer Im Soong-jae as a hero of sorts yet fails through the poorly constructed plot. Though he is very much the central protagonist of the film, Im is portrayed as a horribly selfish and ambitious individual from the very opening with his impetus to change based solely on his attraction to peasant girl Dan-hee. Actor Joo Ji-hoon does what he can with the role yet as there is precious little chemistry between him and Lim Ji-yeon, the advisor’s attempts to reform ultimately ring hollow.

The greatest problem however lies with Kim Kang-woo as King Yeonsan. Suffering psychological issues due to a disease brought on by his promiscuity, the King is undoubtedly a villainous figure yet Kim Kang-woo portrays the man as the Joker on acid, cackling throughout scenes while falling into hysterics in others, and forcing those around him to endure ridiculous tests of torment. It’s a frustrating approach and one that effects the entire film, and makes the overly long two hour running time even more arduous.

The King becomes palpably psychotic as he forces bizarre tests of endurance

Verdict:

The Treacherous is a visually extravagant and epic period drama by helmer/scribe Min Gyoo-dong, with the Joseon dynasty rarely appearing more elegant and grandiose. However the misogyny laced throughout the weak and overly-long narrative is awful, presenting the violent sexual subjugation of 10,000 women as male fantasy masquerading as erotica. Combined with bland performances by the central cast, The Treacherous is an attractive yet frustrating effort.

★★☆☆☆